No. 100, January 2016

Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Regentschapsstraat 67 augustus – oktober 1000 Brussel No. 100, januari 2016 Erkenningsnummer P309573 174–176 Jaargang 20 No. 100

rtunity to discuss not only the ogy by Erwin Panofsky but an artunity to discuss not content of the lip-synched also the different strategies of only the content of the conference on iconol using the lecture as lip-synched

(advertisement) (advertisement) (advertisement) 174 175 176

30/01, 4pm Exhibition Art Fair 06/02 – 26/03 24/02 - 28/02 TRIS VONNA- Opening JAN MOT MICHELL 05/02, 5-8pm AT DAVID LAMELAS ARCO MADRID WASTEFUL Booth 9A12 ILLUMINATIONS: EXPERIENCIAS IFEMA Feria de Madrid DISTRACTED VISUALES LISTENING 1962 & 1968 History Can Jan Mot Rue de la Régence / DISCUSSION Regentschapsstraat 67 Wait WITH 1000 Brussels, Belgium (Part 4) THE ARTIST Did such type of works deserve a different structure than a regular exhibition format? Jan Mot It was the interest in creating a space to dis- By Antony Hudek Rue de la Régence / cuss ideas more actively than they normally Regentschapsstraat 67 are that brought us to a number of works ANTWERP, JAN. 18 - In Part 4 of this five- 1000 Brussels, Belgium that will be presented in this program. But, part essay, I continue to reflect on queer art how is this different from say, a public con- histories that would position AIDS and the ference program, we asked ourselves. After spread of HIV not as an interruption of linear Did such type of works deserve a different some discussions it became clear, that even chronologies, but as a historiographic chal- structure than a regular exhibition format? if it might look like a seminar, this should lenge, an imperative to rethink how we nar- It was the interest in creating a space to dis- still be conceived as an exhibition. In it the rate histories of art and artists from the 1970s cuss ideas more actively than they normally time and function of often so-called educa- to the mid-1990s. In Part 1 (Newspaper Jan are that brought us to a number of works tional programs would be blurred, and will Mot, no. 97, May 2015), I took Douglas that will be presented in this program. But, conceive the gallery not solely as a space to Crimp’s memoirs as a starting point for this how is this different from say, a public con- exhibit works that might or might not spark rethinking. For a number of years now, ference program, we asked ourselves. After a discussion. It is certainly not the first time Crimp, the art historian, curator and AIDS some discussions it became clear, that even that the gallery engages in such activity. activist, has embarked on an autobiographi- if it might look like a seminar, this should The program called Oral Culture which cal writing project in which he looks back on still be conceived as an exhibition. In it the was organized in 2008-09 explored live oral his formative years in New York in the late time and function of often so-called educa- works to be presented in the presence of an 1970s and early 1980s, connecting what tional programs would be blurred, and will audience. It is in this spirit that we hope at the time were two separate worlds: his 2 Newspaper Jan Mot Hudek 174–176

scholarly work as part of the editorial board of the prestigious October magazine; and his life as a gay man, cruising the New York peers and bars. Stitching together these two worlds, I argued, kept conventional history intact: the authorial ‘I’ of the survivor cloaks itself in the veracity of the testimonial, further legitimated by the theoretical sophistica- tion of the October-trained critic. In Part 2 (no. 98, August 2015), I discussed the work of the French artist Philippe Thomas, who died of AIDS in 1995, at the age of 44. Thomas’ oeuvre is exemplary, for it offers one of the most vivid ripostes to the autobiographical reparation exercised by Crimp and others. From the early 1980s, the artist began to question the referential stabil- ity of the proper name (‘Philippe Thomas’) by, among other means, granting the author- ship of his art works to the collectors who acquired them, or to his agency readymades belong to everyone®. The more Thomas strove to elude the grip of his authorial name, the more this absent core became the struc- turing principle of his work, becoming a string of interlocking and dangerously hom- onymous words. Most recently, in Part 3 (no. 99, October 2015), I interviewed the artist Megan Francis Sullivan, whose appropriation of appropriative discourses of the 1980s seems to me to offer a powerful historiographic tool to look back on the so-called AIDS decade and to craft queer histories motivated by admiration as well as parody. The work of the American sculptor Tom Burr represents for Sullivan a particularly compelling scenario: his queer Scott Burton's work at the Equitable Life Assurance Society of the United States in New York. adaptations of minimalist sculptural forms result for her in an oddly straight construc- tion, where the subjective identities of both new ways to discuss work that eluded the strict assumptions of what was good art and appropriator and appropriated come out abstract pictorial paradigms promulgated by what wasn’t, Burton defended much more strengthened. In contrast, Sullivan’s loose Greenberg. Was a particular sculpture theat- eclectic views, championing a minimalist samplings of Burr’s own queer appropria- rical and performative, or on the contrary sculptor like Tony Smith as well as a figura- tions question the subjective coordinates of anti-anthropomorphic and objective? This tive painter like Alex Katz. What mattered to the appropriative act. In words reminiscent question, posed as an alternative in the Burton was the ‘allusive’ nature of art, the of Philippe Thomas, Sullivan avowed: 1970s, became in the 1980s and 1990s an psychological and emotional power con- invitation to recombination: it is the theatri- veyed by the work – a power he saw lacking I never felt that ownership over my own cal quality of a Donald Judd sculpture that in most minimalist art, especially Judd’s. The biography is straightforward, or something allows Burr to replay it as a performative and art historian David Getsy is right to empha- to be acknowledged. (…) I’ve always found abstract piece; and Thomas could re-perform sise Burton’s importance as a critic: while it completely unimaginable to own one’s Duchamp’s conceptualism because nominal- most New York formalists were taking sides own desires and biography in a straight ism and the performative were no longer between theatricality and presentness, Bur- way. To me it would always be a sort of seen as antagonist. ton was imagining both at work in very dif- parody, and yet I like the idea of taking a ‘gay The artist I would like to consider here ferent types of art objects.1 identity’ seriously. – the too little-known American artist Scott As an artist, Burton began performing Burton, who died of AIDS in 1989 at the age with functional objects, mainly chairs and This summary of the first three parts of my of 50 – took the transformation of Greenber- benches, in the 1970s and 1980s. Burton saw essay brings out a historical common gian absolutes into performative and concep- in the piece of furniture a limit case in the ground: the declining power of Clement tual forays to new levels. From the mid- overlap between art and ‘ordinary’ life. The Greenberg’s formalism in the 1970s, a de- 1960s until the mid-1970s, Burton was chairs he would stage, and as of 1975 cast cline precipitated by minimalist, post-mini- primarily a critic, taking part in the debates and sculpt, were not ‘primary structures’, nor malist and conceptual practices. In the ab- surrounding minimalism and post-minimal- even sculpture, but ‘pragmatic structures’, sence of aesthetic diktats, writers and artists ism alongside the likes Michael Fried and objects that blurred the distinctions between in the late 1960s and early 1970s had to find Rosalind Krauss. Whereas the latter held to art, design and the utilitarian object.2 This 3 Newspaper Jan Mot In Brief 174–176

may have remained a rather touching idealis- jecthood and political visibility, on the agen- tic position had Burton not pushed this rea- cy of the collective to assert the rights denied soning to the point of contradiction. In his the individual. By contrast, Burton performs Manon later installations – large benches sited in – and thereby makes quietly visible – the ‘public’ spaces such as corporate plazas or very disappearing act enforced upon gay museum courtyards – Burton’s work blends subjects. This act, I would claim, is queer in de Boer so thoroughly with its late capitalist environ- so far as it undermines the very terms upon ment that their mimetic invisibility becomes which both consensus and identity are con- a high-stakes aesthetic gambit. In his intro- structed. If the invisibility and openness of shortlisted for ductory essay to the catalogue of Harald his corporate décors run the risk of making Szeemann’s 1969 exhibition Live in Your them seem complicit, their materiality and Head: When Attitudes Become Form, Burton engagement with the anonymous life of the the Vincent concedes that ‘no afunctional art can really working crowd allows them to resist the spec- be anything but symbolic, but it is compel- tacularisation of the revolutionary subject. ling to see, at least, the continuing dilation of In their affective resonance and visual Award 2016 art’s limits, to watch the quotation marks get indeterminacy, Burton’s pragmatic struc- further and further apart.’3 tures enact the vulnerability of the political DEN HAAG – JAN. 2 - The Vincent Van By the time he completed the atrium for subject, constantly at risk of being abstracted Gogh Biennial Award for Contemporary the Equitable Life Assurance Society of the into the collective and ideology, or figured as Art in Europe – known for short as ‘the United States building4 in New York in 1986, the subaltern. For one of his performative Vincent Award’ – is one of the world’s lead- the quotation marks could not have been fur- Street Works in the late 1960s, Burton de- ing contemporary art prizes. It is awarded ther apart. The semi-circular marble bench scribes how he to a mid-career artist who lives and/or and matching centrepiece merge so seam- works in Europe and whose work is regard- lessly with their corporate surroundings that did a public nudity piece – which you might ed as influential on international develop- the work gives way to a paradox: the art en- think of as a visual removal. That is to say, I ments in contemporary art. Winners of the thusiast who would recognise the work as walked down the street nude. I didn’t have Vincent Award are invariably well-known ‘art’ would dismiss it as purely functional, the courage to do it on Fifth Avenue at high artists who exhibit in major international while the office worker or distracted passer- noon. I did it only a couple of feet late at museums around the world. The past win- by would find it difficult, if not impossible, to night in an obscure neighbourhood. Well, I’ll ners are Eija-Liisa Ahtila (2000), Neo recognise its artistic merits. More paradoxi- tell you why: because the themes of this Rauch (2002), Pawel Althamer (2004), cal still is the disjuncture between the art- work, as far as I’m concerned, are madness Wilhelm Sasnal (2006), Deimantas work’s openness and accessibility, and its and criminality, as well as the dream.7 Narkevičius (2008) and Anri Sala (2014). dependence on private finance for its realisa- The jury will present the € 50,000 prize to tion.5 While Burton’s work cannot be said to Burton’s structures push the quotation marks the winner at a major award ceremony later be particularly prone to humour, one could as far as they can go, where abstraction and this year at the Gemeentemuseum. imagine Philippe Thomas appreciating the the mimetic conjoin. Falling for this mimesis pun of installing the perfect non-art art in- would be like believing in dreams, or in stallation, where the identity of the maker is melodrama. Yet this is precisely what Bur- nearly impossible to discern, in the headquar- ton’s structures impel us to do: to imagine art ters of the ‘Equitable Life Assurance Society’. so close to life that it threatens to disappear, In Brief Any laughter quickly dissipates when history in tow. one recalls that by 1986 Burton was working On the occasion of the 100th issue of the under the pall of his own imminent death due 1 See Scott Burton: Collected Writings on gallery’s newspaper a special supplement is to AIDS, and those of many of his friends Art & Performance 1965–1975, ed. David made, entitled Time Two. It reproduces a and collaborators. The point of extreme cam- J. Getsy (Chicago: Sobercove Press, 2012). complete list of all the exhibitions, art fairs, ouflage Burton achieved in his Equitable 2 See Lynn Cooke’s essay in the exhibition screenings, performances, lectures, book Life Assurance Society piece reflects the catalogue Scott Burton: Early Work (New presentations, concerts, etc. the gallery has long history of invisibility of gay women and York: Max Protetch Gallery, 1990). organized or participated in since February men, and in particular the near complete in- 3 Scott Burton: Collected Writings, p. 78. 2004. The activities before that date were visibility of those suffering from AIDS in the 4 Today, the AXA building located at Sev- the subject of the firstTime , published in mid-1980s. This is where Burton’s story in- enth Avenue and 51st Street in Manhattan. October 2003, as a supplement to the news- tersects with, but equally diverges from, 5 Brenda Richardson, essay in the exhibi- paper issue 39. Crimp’s: at exactly the same time that Crimp tion catalogue Scott Burton (Baltimore: The was becoming a forceful voice in AIDS ac- Baltimore Museum of Art, 1987), p. 15. The Israel Museum in Jerusalem acquired tivism, Burton was transforming ‘public’ 6 This is not to suggest that Burton wasn’t Maud Capturing the Light ‘On A Clear Day’’ spaces into environments designed for engaged in the fight for gay rights, which he (2015) by Manon de Boer. shared ‘down’ time – waiting, eating a sand- was – see Nancy Princenthal, ‘High Style, wich, meeting, maybe cruising.6 Yet I would Clear Form, Sharp Edge’, Art in America The gallery will participate in Independent like to argue that it is Burton’s stance that (March 11, 2013), http://www.artinameri- Brussels, the first edition of the New York holds the greatest historiographic potential camagazine.com/news-features/magazine/ initiative. This art fair will take place from for the constitution of a new, transformative high-style-clear-form-sharp-edge [last con- 20/04 until 23/04 at the Vanderborght Build- queer history of contemporary art. While sulted January 2015] ing in the historical center of Brussels. undeniably courageous, Crimp’s activism is 7 Scott Burton: Collected Writings, p. 220 premised on traditional constructs of sub- (see also p. 243). Did such type of works deserve a different 4 Newspaper Jan Mot Agenda 174–176

Amsterdam, 12/12 - 17/04; Caminar juntos, …und eine welt noch, Kunsthaus Hamburg, Agenda Museo Tamayo, Mexico City, 27/02 - 16/06 Hamburg (DE), 25/04 - 25/06; 6x6, Landes- (solo); Jan Mot, Brussels, 14/04 - 28/05 galerie Linz, Linz (AT), 24/05 - 21/08 (solo) Ian Wilson Francis Alÿs Dominique Gonzalez-Foerster A Fragile But Marvelous Life, Aspen Art Drawing. The Bottom Line, SMAK, Ghent 1887 – 2058, Centre Pompidou, Paris, Museum, Aspen (US), 20/11 - 31/01; (BE), 10/10 - 31/01; Story of Negotiations, 23/09 - 01/02 (solo); On Curbstone Jewels Seth Siegelaub: Beyond Conceptual Art, Museo de Arte Latinoamericano de Buenos and Cobblestones, Daimler Contemporary Stedelijk Museum, Amsterdam, Aires, Buenos Aires, 06/11 - 15/02 (solo); Berlin, 13/11 - 10/04; 1887 – 2058, K20, 12/12 - 17/04; Daniel Buren. A Fresco, Examples to Follow, Rauchmuseum, Freud- Düsseldorf (DE), 23/04 - 07/08 (solo) Bozar, Brussels, 19/02 - 22/05 enberg (DE), 15/11 - 13/03; Nada temas, dice ella, Museo Nacional de Escultura, Douglas Gordon Also represented by the gallery: Valladolid (ES), 17/11 - 28/02; The Impor- Kaleidoscope: The Indivisible Present, Sven Augustijnen tance of Being, Museu de Arte Moderna Modern Art Oxford, Oxford (GB), Rio de Janeiro, Rio de Janeiro (BR), 06/02 - 16/04; Really?, Arario Museum, 16/12 - 14/02; Story of Negotiation, Museo Seoul, 01/09 - 28/02; What We Call Love - Did such type of works deserve a different Nacional de Bellas Artes, Havana, From Surrealism to Now, Irish Museum of structure than a regular exhibition format? 08/04 - 25/08 (solo) Modern Art, Dublin, 12/09 - 07/02; Letztes It was the interest in creating a space to dis- Jahr in Marienbad. Ein Film als Kunstwerk, cuss ideas more actively than they normally Pierre Bismuth Kunsthalle Bremen (DE), 14/11 - 13/03 are that brought us to a number of works Vanità/Vanitas, Museo Ettore Fico, Turin that will be presented in this program. But, (IT), 31/10 - 28/02; Walkers: Hollywood Joachim Koester how is this different from say, a public con- Afterlives in Art & Artifact, Museum Joachim Koester: The Other Side of ference program, we asked ourselves. After of the Moving Image, 07/11 - 10/04 the Sky, Turner Contemporary, Margate some discussions it became clear, that even (UK), 05/02 - 08/05 (solo) if it might look like a seminar, this should Manon de Boer still be conceived as an exhibition. In it the Project 35: The Last Act, Garage Museum David Lamelas time and function of often so-called educa- of Contemporary Art Moscow (RU), Looking at Tomorrow: Light and Language 10/08 - 31/01; Drawing. The Bottom Line, from The Panza Collection, 1967–1990, SMAK, Ghent (BE), 10/10 - 31/01; William Albright-Knox Art Gallery, Buffalo (US), Colophon Forsythe, Kunsthal Charlottenborg, Copen- 24/10 - 07/02; Seth Siegelaub: Beyond Publisher Jan Mot, Brussels hagen, 20/11 - 21/02; one, two, many, OFF- Conceptual Art, Stedelijk Museum, Concept Design Maureen Mooren & off cinema, Ghent (BE), 22/02 (screening) Amsterdam, 12/12 - 17/04; Sprüth Magers, Daniël van der Velden Berlin, 28/01 - 02/04 (solo); Experiencias Graphic Design Maureen Mooren, Rineke Dijkstra Visuales 1962 & 1968, Jan Mot, Brussels, Amsterdam Metamorphoses, Centre Pompidou Provi- 06/02 -26/03 (solo) Printing Cultura, Wetteren soire, Malaga (ES), 01/01 - 31/12; ... and there was time, Visual Arts Center Founda- Sharon Lockhart (advertisement) tion Helga de Alvear, Caceres (ES), Selections from MOCA's Permanent Collec- 25/04 - 31/01; Dream & Poetry, Tate Mod- tion, Museum of Contemporary Art, ern, London, 01/05 - 31/05; A Perfect Match, Los Angeles (US), 15/08 - 30/04; JAN MOT Pinakothek der Moderne, Munich (DE), Sharon Lockhart / Noa Eshkol, Brandeis 07/07 - 06/03; FACES. European Portrait University, Waltham, Massachusetts (GB), Photography since 1990, Thessaloniki Mu- 12/04 - 05/06; Sharon Lockhart, Arts Club of Rue de la Régence / seum of Photography, Thessaloniki (GR), Chicago, Chicago (US), 12/05 - 13/08 (solo) Regentschapsstraat 67 11/09 - 28/02; PICASSO.MANIA, Grand- 1000 Brussels, Belgium Palais, Paris, 07/10 - 29/02; Celebrating Tino Sehgal tel:+32 2 514 1010 Photography at the National Gallery Solo Projects, Dhaka Art Summit, Dhaka, [email protected] of Art; Recent Gifts, National Gallery of 05/02 - 08/02; Tino Sehgal, Palais de Art, Washington, 01/11 - 27/03; No Man’s Tokyo, Paris, 17/10 - 18/11 (solo) Wed – Fri 2 – 6.30 pm Land: Women Artists from the Rubell Sat 12 – 6.30 pm Family Collection, Rubell Family Collec- Philippe Thomas and by appointment tion, Miami (US), 02/12 - 28/05 Off Cardinal Points, Kraupa-Tuskany Zeidler, Berlin, 27/11 - 30/01 Mario Garcia Torres José Maria Tornel 22 “Poor Art” – Rich Legacy, The Museum Tris Vonna-Michell Col. San Miguel Chapultepec of Contemporary Art, Oslo, No Song to Sing, Adn_Platfom, Barcelona 11850 México D.F., México 13/03 - 28/02; Duh? Art & Stupidity, (ES), 21/11 - 12/03; Wasteful Illuminations: [email protected] Focal Point Gallery, Essex (UK), Distracted Listening, Jan Mot, Brussels, 10/11 - 26/03; War II - History 05/12 - 30/01 (solo); Wasteful Illuminations: By appointment only Series, Mostyn, Llandudno (GB), Distracted Listening, Jan Mot, Brussels (dis- 14/11 - 08/05; Seth Siegelaub: Beyond cussion with the artist), 30/01; Ballistic Conceptual Art, Stedelijk Museum, Poetry, La Verrière, Brussels, 23/04 - 02/07; www.janmot.com Newspaper Jan Mot Newspaper Jan Mot Speciale bijlage bij nummer 100 Special supplement of number 100 januari 2016 Ti m e Two January 2016 Supplement

Jan Mot Ravenstein Galerie Rue Antoine Dansaertstraat 190 Rue Ravensteinstraat 18 1000 Bruxelles/Brussel 1000 Bruxelles/Brussel

22/01/04 - 06/03/04 13/04/05 - 18/05/05 Paul Elliman Mario Garcia Torres The Gallery Show, Part Three: Public Address Jan Mot 22/01/04 - 06/03/04 Rue Antoine Dansaertstraat 190 Ian Wilson 1000 Bruxelles/Brussel Two Works Ian Wilson invitation card, 2004 05/05/05 - 18/06/05 10/02/04 Joachim Koester Joe Scanlan New Works Herman Melville and Joe Scanlan, Art Basel Two Views Basel, Messe Basel (CH) 20/08/05 - 17/09/05 Reading Richard Venlet 15/06/04 - 21/06/04 Organized by Etablissement d’en face 10/03/04 - 24/04/04 Tino Sehgal Dave Allen, Pierre Bismuth, Dragset & This is competition 22/09/05 - 29/10/05 Elmgreen, Hans-Peter Feldmann, Sylvie Dominique Gonzalez-Foerster, Fleury, Mario Garcia Torres, Douglas David Lamelas, Jan Mancuska Gordon, Rodney Graham, David Jan Mot Wall Pieces Hammons, Isabell Heimerdinger, Jeppe Rue Antoine Dansaertstraat 190 Hein, Carsten Höller, Jonathan Monk 1000 Bruxelles/Brussel What did you expect? Frieze Art Fair London 04/09/04 - 23/10/04 Regent’s Park, London 13/03/04 - 24/03/04 Joe Scanlan Daniel van der Velden The Gallery Show, Part Five: 21/10/05 - 24/10/05 & Maureen Mooren Work Surfaces Pierre Bismuth, Manon de Boer, Rineke The Gallery Show, Part Four: Newspaper Dijkstra, Mario Garcia Torres, David 04/09/04 - 23/10/04 Lamelas, Ian Wilson, Joachim Koester 27/05/04 - 03/07/04 Rineke Dijkstra Douglas Gordon, Sharon Lockart, Two Portraits Tino Sehgal, Pierre Bismuth. Jan Mot Accrochage 04/11/04 - 04/12/04 Rue Antoine Dansaertstraat 190 Dominique Gonzalez-Foerster 1000 Bruxelles/Brussel 27/05/04 - 23/10/04 Atomic Park Mario Garcia Torres 03/11/05 - 17/12/05 Shot of Grace with Alighiero Boetti 09/12/04 - 29/01/05 Manon de Boer Hairstyle and Other Works Judith Joy Ross Resonating surfaces Vietnam War Memorial 04/06/04 - 05/06/04 19/01/06 – 04/03/06 Ian Wilson 09/02/05 – 16/04/05 Robert Barry Discussions Robert Barry, Manon de Boer, Two Works Pierre Bismuth, Daniel Buren, Douglas Gordon Joachim Koester, 19/01/06 – 04/03/06 David Lamelas, Jonathan Monk, Joachim Koester Mario Garcia Torres, Ian Wilson Histories Today is just a copy of yesterday 2 Newspaper Jan Mot Supplement Time Two

15/03/06 – 15/04/06 14/10/06 18/01/07 – 27/01/07 David Lamelas Dominique Gonzalez-Foerster La factory éclatée David Lamelas. Part 1 Parc Central Carte blanche à Matthieu Orléan

26/10/06 – 04/11/06 01/02/07 – 24/02/07 Extra City, Antwerp Impossible India Joachim Koester Curated by Nina Möntmann Morning of the Magicians 19/04/06 – 23/04/06 Part 1 Mario Garcia Torres Squiggle, Oliver Husain 01/03/07 – 17/03/07 Mario Garcia Torres at Machher Banga (Bengalis in the Deimantas Narkevičius The Galleries Show World of Fish), Nilanjan Battacharya Revisiting Solaris A Day with Soheil and Maryan, Gigi Scaria 21/03/07 Jan Mot Part 2 A conversation with Tino Sehgal Rue Antoine Dansaertstraat 190 A Night of Prophecy, Amar Kanwar 1000 Bruxelles/Brussel 24/03/07 09/11/06 – 10/11/06 Suely Rolnik 22/04/06 – 20/05/06 Dominique Gonzalez-Foerster Archive for a Work-Event (Lygia Clark) Pierre Bismuth Parc Central Most Wanted Men 24/03/07 16/11/06 – 2/12/06 At the Beursschouwburg in Brussels. 22/04/06 – 20/05/06 Manon de Boer Lectures on the work of Lygia Clark David Lamelas Presto. Perfect Sound by Suely Rolnik, Hubert Godard David Lamelas. Part 2 Sylvia Kristel - Paris and Guy Brett

08/06/06 – 08/07/06 17/11/06 25/03/07 Mario Garcia Torres Special screening of Presto. Perfect At Extra City in Antwerp. Te invito a mi mundo Sound with live violin concert Hubert Godard and Suely Rolnik by George van Dam Workshop

Art Basel 07/12/06 – 16/12/06 Basel, Messe Basel (CH) Manon de Boer Jan Mot Presto. Perfect Sound Rue Antoine Dansaertstraat 190 14/06/06 – 18/06/06 1000 Bruxelles/Brussel Sven Augustijnen, Pierre Bismuth, Manon de Boer, Mario Garcia Torres, 03/05/07 – 05/05/07 Joachim Koester, David Lamelas, Joachim Koester Deimantas Narkevičius Flashing Furrows, Oscillating Ruins

4/05/07 - 28/07/07 Jan Mot Rineke Dijkstra Rue Antoine Dansaertstraat 190 Park Portraits 1000 Bruxelles/Brussel

2006 - 2007 Art Basel Programme* Messe Basel, Basel (CH) * A 7 month long series of screenings, Manon de Boer discussions, presentations, concerts Presto, Perfect Sound, 2006 12/06/07 – 17/06/07 and performances: 35 mm film or 35 mm film transferred to video, Art Galleries colour, sound Pierre Bismuth, Manon de Boer, Rineke 30/09/06 5 min. 40 sec. Dijkstra, Mario Garcia Torres, Joachim Ian Wilson film still Koester, David Lamelas, Ian Wilson A Discussion Art Unlimited 08/12/06 – 14/01/07 Joachim Koester 05/10/06 – 19/10/06 Joachim Koester David Lamelas Morning of the Magicians The desert people Jan Mot 09/12/06 Rue Antoine Dansaertstraat 190 06/10/06 – 20/10/06 Lecture by Joachim Koester 1000 Bruxelles/Brussel David Lamelas The Light on the Edge of a Nightmare 11/01/07 – 25/01/07 21/09/07 - 27/10/07 Deimantas Narkevičius Pierre Bismuth Legend coming true One man’s mess is another man’s masterpiece 3 Newspaper Jan Mot Supplement Time Two

Frieze Art Fair London 07/05/08 Jan Mot Regent’s Park, London Tris Vonna-Michell Rue Antoine Dansaertstraat 190 Auto-Tracking: Ongoing Segments 1000 Bruxelles/Brussel 11/10/07 - 14/10/07 Part of the Oral Culture series The Fair Gallery 23/10/08 - 29/11/08 Curated by Aurélie Voltz 30/05/08 - 04/10/08 Deimantas Narkevičius William Anastasi, Eduardo Costa, Dan The Dud Effect Graham and Stephen Kaltenbach Jan Mot The Title Of This Show Is A List That 20/11/08 Rue Antoine Dansaertstraat 190 Includes The Dates In Which Each Of The Kurt Schwitters Ur-Sonata 1000 Bruxelles/Brussel Exhibited Works Were First Made, The Performed by Michael Schmid Dates In Which Some Of Them Were Part of the Oral Culture series 09/11/07 - 22/12/07 Remade By The Artists And The Dates In Joachim Koester Which They Were Last Shown 04/12/08 - 17/01/09 Twelve (Former) Real Estate Curated by Mario Garcia Torres Sven Augustijnen Opportunities Les Demoiselles de Bruxelles Sven Augustijnen L’histoire belge Art Basel 17/12/08 Basel, Messe Basel (CH) Pierre Bismuth 18/01/08 - 01/03/08 The End of Silence Manon de Boer 04/06/08 - 08/06/08 Piano: Alain Baents, Performance: Attica Art Galleries Kurt Vanmaeckelberghe Pierre Bismuth, Manon de Boer, Rineke Part of the Oral Culture series 25/01/08 Dijkstra, Mario Garcia Torres, Indeterminacy by John Cage Stephen Kaltenbach, Joachim Koester, 22/01/09 Recited by Will Holder and accompanied David Lamelas, Ian Wilson Mario Garcia Torres by Manon de Boer’s Attica. Chinese Whispers Part of the Oral Culture series Part of the Oral Culture series

29/02/08 22/01/09 - 28/02/09 Robert Barry Tino Sehgal It is, it isn’t Part of the Oral Culture series 05/03/09 - 11/04/09 Mario Garcia Torres 08/03/08 - 19/04/08 All That Color Is Making Me Blind Pierre Bismuth, Mario Garcia Torres, Ian Wilson Dominique Gonzalez-Foerster, Will Reconstructed Paintings Holder, David Lamelas, Jonathan Monk, Jan Mot at Art Basel, Galleries, Basel 2008 Ian Wilson 23/04/09 - 30/05/09 Time pieces David Lamelas Jan Mot Encounters 29/03/08 Rue Antoine Dansaertstraat 190 Jonathan Monk 1000 Bruxelles/Brussel 05/06/09 - 18/07/09 Classified Football Results Pierre Bismuth, Mario Garcia Torres, Part of the Oral Culture series 04/07/08 Annette Kelm, Deimantas Narkevičius Manon de Boer 24/04/08 – 24/05/08 Switch (live version) Ian Wilson Performed by Michael Schmid Art Basel Reconstructed Early Paintings Followed by the book launch Messe Basel, Basel (CH) of ‘Manon de Boer’ 27/04/08 Part of the Oral Culture series 10/06/09 - 14/06/09 Manon de Boer Sven Augustijnen, Mario Garcia Torres, Presto, Perfect Sound and Two Times 4’33’’ Joachim Koester, David Lamelas Screening Frieze Art Fair London Regent’s Park, London 02/05/08 - 24/05/08 Jan Mot Ian Wilson 16/10/08 - 19/10/08 Rue Antoine Dansaertstraat 190 One Early Sculpture The Fair Gallery 1000 Bruxelles/Brussel Manon de Boer Curated by Pierre Bal-Blanc Laurien 1996-2001-2007 12/09/09 - 24/10/09 Tris Vonna-Michell Auto-Tracking: Ongoing Configurations 4 Newspaper Jan Mot Supplement Time Two

Art Basel 11/12/10 - 22/01/11 Basel, Messe Basel (CH) Pierre Bismuth Le Versant de l’Analyse 16/06/10 - 20/06/10 Art Galleries Pierre Bismuth, Manon de Boer, Mario Garcia Torres, Douglas Gordon, David Lamelas, Deimantas Narkevičius, Tris Vonna-Michell Art Unlimited Mario Garcia Torres, Ian Wilson Tris Vonna-Michell Auto-Tracking: Ongoing Segments, performance, part of Oral Culture series, Jan Jan Mot Mot, Brussels 07/05/2008 Rue Antoine Dansaertstraat 190 Pierre Bismuth 1000 Bruxelles/Brussel Le Versant de l’Analyse, 2010 Mixed media installation Frieze Art Fair 11/09/10 - 23/10/10 Installation view at Jan Mot, Brussels 2010 Regent’s Park, London Sharon Lockhart Double Tide 15/10/09 - 18/10/09 Jan Mot Manon de Boer Rue Antoine Dansaertstraat 190 RITS 1000 Bruxelles/Brussel Rue Antoine Dansaertstraat 70 FIAC 1000 Bruxelles/Brussel 29/01/11 - 19/03/11 Grand Palais, Paris Joachim Koester 12/09/10 I myself am only a receiving apparatus 22/10/09 - 25/10/09 Sharon Lockhart Pierre Bismuth, Mario Garcia Torres, Double Tide (screening) David Lamelas, Ian Wilson RITS Rue Antoine Dansaertstraat 70 1000 Brussels Jan Mot Rue Antoine Dansaertstraat 190 02/02/11 – 09/02/11 1000 Bruxelles/Brussel Manon de Boer Think about Wood, Think about Metal 05/11/09 - 30/01/10 Sylvia Kristel – Paris Jeppe Hein Resonating Surfaces Hello? Shall I call you back?

12/02/10 - 10/04/10 Sharon Lockhart Independent Art Fair Manon de Boer Double Tide, 2009 548 W 22nd St, New York Dissonant 16mm film transferred to HD, colour, sound 99 min. 33 sec. 03/03/11 - 06/03/11 24/04/10 - 05/06/10 film still Manon de Boer, Mario Garcia Torres, Rineke Dijkstra David Lamelas, Ian Wilson Liverpool FIAC 10/06/10 - 31/07/10 Grand Palais, Paris Jan Mot Mario Garcia Torres, Sharon Lockhart Rue Antoine Dansaertstraat 190 By June 11 We Will Have Installed Some 21/10/10 - 24/10/10 1000 Bruxelles/Brussel Works by Mario Garcia Torres and Pierre Bismuth, Manon de Boer, Sharon Lockhart That We Would Like to Mario Garcia Torres, Joachim Koester, 02/04/11 - 14/05/11 Share With You and Talk To You About David Lamelas, Deimantas Narkevičius, David Lamelas Ian Wilson Limit of a projection II

21/05/11 - 09/07/11 Jan Mot Manon de Boer, David Lamelas, Rue Antoine Dansaertstraat 190 Ian Wilson 1000 Bruxelles/Brussel People and Time David Shrigley 30/10/10 - 04/12/10 Drawings made last week Vija Celmins, Joe Scanlan Recent Works 5 Newspaper Jan Mot Supplement Time Two

Art Basel Jan Mot Basel, Messe Basel (CH) Gob. José Ceballos 10 Col. San Miguel Chapultepec 15/06/11 - 19/06/11 11850 México D.F. Art Galleries Pierre Bismuth, Mario Garcia Torres, 25/02/12 - 14/04/12 Joachim Koester, David Lamelas, Sharon Robert Barry Lockhart, Ian Wilson Sound Pieces Art Unlimited Deimantas Narkevičius Mario Garcia Torres Jan Mot September Piece (9 at Leo Castelli), 2011 Rue Antoine Dansaertstraat 46 Jan Mot mixed media installation, dimensions variable 1000 Bruxelles/Brussel Rue Antoine Dansaertstraat 190 Installation view September Piece at Jan Mot, 1000 Bruxelles/Brussel Brussels 2011 07/04/12 - 26/05/12 Ian Wilson 06/08/11 - 03/09/11 Nina Beier, Francisco Camacho, Jiří FIAC Kovanda, Yoko Ono, Karin Schneider, Grand Palais, Paris Zona MACO Tino Sehgal Centro Banamex, Mexico D.F. The Encounter 20/10/11 - 23/10/11 Curated by Heidi Ballet Sven Augustijnen, Pierre Bismuth, Rineke 18/04/12 - 22/04/12 Dijkstra, Mario Garcia Torres, Joachim David Lamelas Koester, David Lamelas, Ian Wilson Time as Activity - Mexico City Jan Mot Gob. José Ceballos 10 Col. San Miguel Chapultepec Jan Mot Jan Mot 11850 México D.F. Rue Antoine Dansaertstraat 190 Gob. José Ceballos 10 1000 Bruxelles/Brussel Col. San Miguel Chapultepec 30/08/11 - 29/10/11 11850 México D.F. Dominique Gonzalez-Foerster 03/11/11 - 14/01/12 Pavillon d’argent Manon de Boer 21/04/12 - 14/07/12 Think about Wood, Think about Metal David Lamelas Proyección ArtRio - International Art Fair of Rio de Janeiro (BR) Jan Mot Gob. José Ceballos 10 07/09/11 - 11/09/11 Col. San Miguel Chapultepec Dominique Gonzalez-Foerster 11850 México D.F.

19/11/11 - 28/01/12 abc Joachim Koester Station Berlin, Berlin Variations of Incomplete Open Cubes

07/09/11 - 11/09/11 Rineke Dijkstra Jan Mot Ruth Drawing Picasso, Tate Liverpool Rue Antoine Dansaertstraat 190 1000 Bruxelles/Brussel

Jan Mot 28/01/12 - 31/03/12 David Lamelas Rue Antoine Dansaertstraat 190 John Baldessari, Pierre Bismuth, Mario Sin título, 1968 1000 Bruxelles/Brussel Garcia Torres, Robert Heinecken, two slide projectors, dimensions variable Joachim Koester, Jonathan Monk, Installation view Proyección at Jan Mot, 10/09/11 - 22/10/11 Stephen Prina Mexico City 2012 Mario Garcia Torres A Corral around Your Idea September Piece Curated by Giovanni Majer Jan Mot Rue Antoine Dansaertstraat 190 1000 Bruxelles/Brussel

02/06/12 - 14/07/12 Pierre Bismuth Mit Pierre Bismuth gegen Propaganda 6 Newspaper Jan Mot Supplement Time Two

Art Basel Basel, Messe Basel (CH)

13/06/12 - 17/06/12 Art Galleries Pierre Bismuth, Marcel Broodthaers, Rineke Dijkstra, Mario Garcia Torres, Joachim Koester, David Lamelas, Tris Vonna-Mitchell, Ian Wilson Art Unlimited Dominique Gonzalez-Foerster and Sven Augustijnen Tristan Berra AWB 082-3317 7922, 2012 bike and bags of ‘makala’ (charcoal) dimensions variable Jan Mot Installation view AWB 082-3317 7922 at Jan Hommage à Philippe Thomas: Gob. José Ceballos 10 Mot, Brussels 2012 autoportrait en groupe, 1985 Col. San Miguel Chapultepec Installation view Jean Brolly, Georges Bully, 11850 México D.F. Herman Daled, Lidewij Edelkoort, Jan Mot Françoise Epstein, Dominique Païni, Michel 01/09/12 - 19/01/13 Gob. José Ceballos 10 Tournereau Fictionnalisme: une pièce à conviction Manon de Boer Col. San Miguel Chapultepec11850 Installation view at Jan Mot, Brussels 2013 one, two, many México D.F.

08/12/12 - 23/02/13 Jan Mot Jan Mot Tris Vonna-Michell Gob. José Ceballos 10 Rue Antoine Dansaertstraat 190 Capitol Complex Col. San Miguel Chapultepec 1000 Bruxelles/Brussel 11850 México D.F.

07/09/12 - 27/10/12 RITS 06/04/13 - 14/04/13 Dominique Gonzalez-Foerster, Rue Antoine Dansaertstraat 70 Rineke Dijkstra Tristan Bera 1000 Brussels Ruth Drawing Picasso Belle comme le jour Ian Wilson 17/01/13 Statements Sven Augustijnen Tris Vonna-Michell Cinematek Spectres Capitol Complex Rue Baron Hortastraat, 9 1000 Bruxelles/Brussel Jan Mot Jan Mot 20/09/12 Rue Antoine Dansaertstraat 190 Rue Antoine Dansaertstraat 190 Film Screening 1000 Bruxelles/Brussel 1000 Bruxelles/Brussel Manon de Boer one, two, many - Two Times - Dissonant 26/01/13 - 02/03/13 27/04/13 - 15/06/13 Joachim Koester Ian Wilson Reptile brain, or reptile body, it’s your Statements FIAC animal Grand Palais, Paris 07/05/13 - 08/05/13 09/03/13 - 20/04/13 Ian Wilson 18/10/12 - 21/10/12 Jean Brolly, Georges Bully, Herman The Pure Awareness of the Absolute / Sven Augustijnen, Mario Garcia Torres, Daled, Lidewij Edelkoort, Discussions Joachim Koester, David Lamelas, Françoise Epstein, Dominique Païni, Ian Wilson Michel Tournereau Fictionnalisme: une pièce à conviction Art Basel Basel, Messe Basel (CH) Jan Mot Rue Antoine Dansaertstraat 190 13/06/13 - 16/06/13 1000 Bruxelles/Brussel Pierre Bismuth, Rineke Dijkstra, Mario Garcia Torres, Joachim Koester, David 17/11/12 - 19/01/13 Lamelas, Ian Wilson Sven Augustijnen AWB 082-3317 7922 7 Newspaper Jan Mot Supplement Time Two

Jan Mot 22/02/14 - 17/10/14 Rue Antoine Dansaertstraat 190 From the Library of Seth Siegelaub / Live performance 1000 Bruxelles/Brussel Egress Foundation Amsterdam Mario Garcia Torres A selection made by Marja Bloem presents Allen Smithee 29/06/13 - 27/07/13 An evening organised in the Marian Zijlstra 05/04/14 - 17/05/14 context of the exhibition Terugblik. 1950 – 1970 Robert Barry A situation in which an argument Only can be discussed 06/09/13 - 26/10/13 Manon de Boer one, two, many Jan Mot FIAC Rue de la Régence / Grand Palais, Paris 07/09/13 Regentschapsstraat 67 Manon de Boer 1000 Bruxelles/Brussel 23/10/14 - 26/10/14 Book presentation with Sophie Berrebi Pierre Bismuth, Marcel Broodthaers, Encounters. On three films 11/06/14 - 19/07/14 Mario Garcia Torres, David Lamelas, by Manon de Boer David Lamelas Philippe Thomas, Tris Vonna-Michell, Mon Amour. Reading Films Ian Wilson

FIAC Grand Palais, Paris Art Basel Jan Mot Basel, Messe Basel (CH) Rue de la Régence / 24/10/13 - 27/10/13 Regentschapsstraat 67 Sven Augustijnen, Tristan Bera, Pierre 19/06/14 - 22/06/14 1000 Bruxelles/Brussel Bismuth, Mario Garcia Torres, Art Galleries Dominique Gonzalez-Foerster, Joachim Robert Barry, Pierre Bismuth, Rineke 28/10/14 Koester, David Lamelas, Philippe Dijkstra, Mario Garcia Torres, David Lecture Thomas, Ian Wilson Lamelas, Philippe Thomas, Ian Wilson Luuk van Middelaar Art Unlimited Speaking on Speeching David Lamelas An evening organised in the context Jan Mot Art Film of the exhibition Rue Antoine Dansaertstraat 190 Manon de Boer A situation in which an argument 1000 Bruxelles/Brussel Art Parcours can be discussed. Mario Garcia Torres 07/11/13 - 08/02/14 14 Rooms 30/10/14 Tris Vonna-Michell Dominique Gonzalez- Lecture Postscript II (Berlin) Foerster and Tino Sehgal An evening written by Thomas Puisquelaloi* 11/01/14 - 08/02/14 An evening organised in the context David Horvitz Jan Mot of the exhibition Curated by Julia Wielgus Rue de la Régence / A situation in which an argument Regentschapsstraat 67 can be discussed 08/02/14 1000 Bruxelles/Brussel David Horvitz 06/11/14 - 29/11/14 Let Us Keep Our Own Noon 13/09/14 – 31/10/14 Joachim Koester Mario Garcia Torres, Robert Morris, The Place of Dead Roads 22/02/14 - 29/03/14 Philippe Thomas Dominique Gonzalez-Foerster A situation in which an argument 14/11/14 bibliographie can be discussed Book launch Susana Vargas 13/09/14 – 10/10/15 Mujercitos 39 books chosen by Yves Gevaert from his library in Anghiari, Italy Kaaitheater, Brussels 23/09/14 Square Sainctelette/ Screening Sainctelettesquare 19 Marcel Broodthaers 1000 Bruxelles/Brussel Une Discussion Inaugurale, 1968 Dominique Gonzalez-Foerster Speakers Corner, 1972 18/11/14 2058 (Bibliography), 2012 An evening organised in the context Joachim Koester carpet, 400 books of the exhibition The Place of Dead Roads 300 x 300 cm (carpet), dimensions variable (books) A situation in which an argument Screening and live music performance by Installation view bibliographie at Jan Mot, can be discussed DJ Miles Brussels 2014 8 Newspaper Jan Mot Supplement Time Two

10/04/15 - Jan Mot From the library of Douglas Crimp Rue de la Régence / Regentschapsstraat 67 10/04/15 1000 Bruxelles/Brussel From the library of Douglas Crimp Conversation with Douglas Crimp 31/10/15 – 28/11/15 Francis Alÿs, Pierre Bismuth, Mario 23/04/15 - 30/05/15 Garcia Torres, Joachim Koester, Tris Pierre Bismuth Vonna-Mitchell Where is Rocky II? Joachim Koester Trailer / Teaser 05/12/15 - 30/01/16 The Place of Dead Roads, 2013 Tris Vonna-Michell HD video installation, color, sound, 09/05/15 Wasteful Illuminations: Distracted 33 min. 30 sec. Ian Wilson Listening Installation view The Place of Dead Roads at The Pure Awareness of the Absolute / Jan Mot, Brussels 2014 A Discussion 30/01/16 Tris Vonna-Michell 12/06/15 - 25/07/15 Wasteful Illuminations: Distracted Jan Mot Manon de Boer, Joachim Koester, Ian Listening Rue de la Régence / Wilson Discussion with the artist Regentschapsstraat 67 1000 Bruxelles/Brussel 06/02/16 - 26/03/16 Art Basel David Lamelas 22/11/14 Basel, Messe Basel (CH) Experiencias Visuales 1962 & 1968 Publication release and conversation with the artist 18/06/15 - 21/06/15 Tris Vonna-Michell Art Galleries ARCO Capitol Complex / Ulterior Vistas Robert Barry, Pierre Bismuth, Manon de IFEMA, Madrid Boer, Rineke Dijkstra, Mario Garcia 04/12/14 - 17/01/15 Torres, Dominique Gonzalez-Foerster, 24/02/16 - 28/02/16 Sven Augustijnen David Lamelas, Jonathan Monk, Philippe Mario Garcia Torres, Ian Wilson « L’histoire est simple et édifiante. » Thomas, Tris Vonna-Michell, Ian Wilson Une sélection d’articles parus dans Paris Art Parcours Match, première partie 1960-1972 Philippe Thomas

23/01/15 Publication release and conversation with Jan Mot Antony Hudek Rue de la Régence / Daniel Bosser: Philippe Thomas Declines Regentschapsstraat 67 (advertisement) His Identity 1000 Bruxelles/Brussel 24/01/15 - 28/02/15 11/09/15 – 24/10/15 JAN MOT Tino Sehgal Manon de Boer On a Warm Day in July 05/03/15 - 18/04/15 Rue de la Régence / Rineke Dijkstra 28/09/15 Regentschapsstraat 67 The Gymschool, St Petersburg, 2014 Manon de Boer 1000 Brussels, Belgium In conversation with Christophe Wavelet tel:+32 2 514 1010 [email protected] 15/10/15 Lionel Devlieger (Rotor) Wed – Fri 2 – 6.30 pm Architecture and Sacrifice Sat 12 – 6.30 pm Lecture and by appointment

FIAC José Maria Tornel 22 Grand Palais, Paris Col. San Miguel Chapultepec 11850 México D.F., México Rineke Dijkstra 21/10/15 – 25/10/15 [email protected] The Gymschool, St Petersburg, 2014, 2014 Sven Augustijnen, Robert Barry, Pierre 3 channel HD video installation, surround sound Bismuth, Manon de Boer, Rineke By appointment only 15 min. 16 sec. Dijkstra, Mario Garcia Torres, Joachim Installation view The Gymschool, St Koester, David Lamelas, Philippe Petersburg, 2014 at Jan Mot, Brussels 2015 Thomas, Ian Wilson www.janmot.com